CLASSIC BAND Grade 4 Liturgical Music for Band 1 Conductor 1 Piccolo 6 Flute 2 Oboe 2 Bassoon 1 Eb Soprano Clarinet 3 1st Bb Clarinet 3 2nd Bb Clarinet 3 3rd Bb Clarinet 2 Bb Bass Clarinet 1 Optional Bb Contra Bass Clarinet 4 Eb Alto Saxophone 1 Bb Tenor Saxophone 1 Eb Baritone Saxophone MARTIN MAILMAN (1932 2000) INSTRUMENTATION 3 1st Bb Trumpet (or Cornet) 3 2nd Bb Trumpet (or Cornet) 2 3rd Bb Trumpet 2 4th Bb Trumpet 1 1st F Horn 1 2nd F Horn 1 3rd F Horn 1 4th F Horn 2 1st Trombone 2 2nd Trombone 2 3rd Trombone 2 Euphonium 1 Baritone Treble Clef 4 Tuba (Basses) ABOUT THE COMPOSER 1 String Bass 1 Timpani 4 Percussion 1 (Glockenspiel, Xylophone, Marimba, Optional Chimes) 5 Percussion 2 (Chimes, Tom-tom, Timbales, Snare Drum, Crash Cymbals) 5 Percussion 3 (Snare Drum, Bass Drum, Triangle, Suspended Cymbal, Crash Cymbals) Dr. Martin Mailman (1932 2000) was Composer in Residence and Regents Professor of Music at the University of North Texas, Denton, Texas. A composition student of Louis Mennini, Wayne Barlow, Bernard Rogers, and Howard Hanson, he received his B.M., M. M. and Ph.D. degrees from the Eastman School of Music, Rochester, New York. He was among the first of contemporary American composers chosen in 1959 to participate in The Young Composers Projects sponsored by the Ford Foundation and the National Music Council. Dr. Mailman received numerous awards among which include two American Bandmasters Association/Ostwald prizes for composition, the National Band Association/Band Mans Company prize for composition, the Edward Benjamin Award, Composer of the Year by the Texas Music Teachers Association, and the 1982 Queen Marie- Jose Prize for composition. His works include chamber music, band, choral and orchestral music, film scores, television music, an opera and requiem for chorus, orchestra and soloist. As a frequently sought-after clinician and teacher, Dr. Mailman served as guest conductor-composer at more than ninety colleges and universities across the United States and Europe. In November 2000, the University of North Texas Board of Regents awarded Emeritus status to Dr. Mailman posthumously. Some of his many works for band include Concertino for Trumpet and Band, Op. 31; Liturgical Music for Band, Op. 33; A Simple Ceremony: In Memoriam John Barnes Chance, Op. 53; Night Vigil, Op 66; Exaltations, Op. 67; The Jewel of the Crown, Op. 78; For precious friends hid in death s dateless night, Op. 80; Toward the Second Century, Op. 82; Concertino for Clarinet and Band, Op. 83; Bouquets, Op. 87; Concerto for Wind Orchestra (Variations), Op. 89; Secular Litanies, Op. 90, and Pledges, Op. 98. Additional information on Martin Mailman can be found at www.martinmailman.com. Preview Only Please note: Our band and orchestra music is now being collated by an automatic high-speed system. The enclosed parts are now sorted by page count, rather than score order.
PROGRAM NOTES Liturgical Music for Band, Op. 33, completed in 1963 in Greenville, North Carolina, was commissioned by the Greenville County High School Band, Emporia, Virginia, John Savage, director, and was premiered by that group in 1963. Since then, the piece has become a landmark work in the band repertoire with countless performances and several generations of students having played it. The piece is based on four movements selected from the Mass Proper and Ordinary. The band plays in a chime-like style to announce the opening movement, Introit. The second movement has the same three sections as the Kyrie from the Mass (Kyrie eleison Christe eleison Kyrie eleison). The musical theme of this movement has the same rhythm as the word Kyrie. The theme of the third movement is the same rhythm as the word Gloria and the style is jubilant, just like the Mass text ( Glory to God in the highest ). The fourth movement, Alleluia, features an energetic fugue and an exciting climax. NOTES TO THE CONDUCTOR Liturgical Music for Band, Op. 33 has no key signatures, so accidentals abound. There are changes of meter within movements, but only on the quarter-note level. The tempos remain consistent within the movements. There are both staccato and legato articulations, so contrast is important. Instruments rarely have exposed sections or solos, but the percussion section is featured prominently, especially in the third movement. Ranges and scalar passages are not difficult. The Eb soprano clarinet has some difficult parts and the clarinet section is required to sustain several sections softly. The piece is based on four movements selected from the Mass Proper and Ordinary. The ensemble has the opportunity to learn about the parts of the Mass. There are times when the band must play in a chime-like style to sound like bells. There is also a fugue in the fourth movement that will require some instruction. The theme of the second movement is the same rhythm as the word Kyrie, and the theme of the third movement is the same rhythm as the word Gloria. The second movement also has the same three sections as the Kyrie from the Mass. Key areas are sometimes difficult to identify, but solid cadences occur at the ends of the movements. Form Movement I: Introit G MAJOR, C MAJOR, OTHER RELATED KEYS Allegro moderato Measures 1 22 opening, chime-like fanfare, tutti Measures 23 51 call and answer between woodwinds and low brass Measures 52 58 transition to fanfare theme A little broader Measures 59 71 return of opening, chime-like fanfare, tutti Movement II: Kyrie G MINOR and OTHER RELATED KEYS Adagio Measures 1 25 Kyrie eleison, clarinets featured a tempo Measures 26 44 Christe eleison, brass alternating with woodwinds Measures 45 60 Kyrie eleison, clarinets featured Movement III: Alleluia F MAJOR and OTHER RELATED KEYS Giocoso Measures 1 19 introduction Measures 20 29 fugato Measures 30 60 underlying drive in low brass and reeds Measures 61 69 transition Measures 70 79 theme augmentation with fragmentation Measures 80 85 tutti, closing Preview Only Movement IV: Gloria C MAJOR and OTHER RELATED KEYS Allegro energico Measures 1 22 fugato, four different instrument entrances Measures 23 38 chorale theme, tutti Measures 39 57 theme fragmentation throughout ensemble Measures 58 67 chorale theme, tutti Measures 68 73 tutti, material based on countersubject Measures 74 81 tutti, chordal, closing, ending in C major Notes courtesy of Dr. Matthew Mailman, son of the composer